- 97 -
92 Cond. 92.
Midway through the crowd SANDERSON refreaks. He lashes out and hands that try to restrain him rip shit out of his suit. He's going crazy. One welcome face emerges from the fracas. SALA is among many who struggle to get SANDERSON out. KEMP pushes back into a nightmare. And if anything it got worse.
You might just see the blade, just a flash in flashing light. It comes out of the frenzy, deftly severing the back of CHEN-AULT'S bra. Straps slip off her shoulders, for a moment she clasps it to her breasts. Brute carnality that no one could stop. Not her. Not anybody. And that means you, white man.
The vibes couldn't be more dangerous. Last thing KEMP sees is the brassiere held in the air, then kissed by her partner.
93: INT/EXT. ENTRANCE/STREET. NIGHTCLUB. NIGHT. 93.
Some bad stuff gone down on the steps. SANDERSON crouches at the bottom like a crushed snail. Clearly grief with the brothers ended bad. One of the sleeves hangs off his suit, and the rest is dirt and blood. SALA says, "They called a cab." Any attempt to get him on feet is aggressively rejected, SANDERSON wants no help from KEMP. Here comes the cab, and somehow he gets bundled in and somebody slams the door.
Music from the club is drowned in a roar. Maybe they're already fucking her? Tail lights vanish down the hill. Pandemonium inside and KEMP climbs steps to confront it. But I don't think so, and neither do faces top of the stairs. He gets jive from the man in the hat, and this place is closed.
KEMP I gotta get the girl..
MAN IN HAT She having a good time..
(you deaf?) I said, we closed, man..
Bad eyes in a harsh face and what he means SALA understands.
SALA No wayj Paul. No way.
94: EXT. BEACH. SAINT THOMAS. DAWN. 94.
Wide over the beach with thunder in the air. Gold in black cloud. It won't rain now. But it's going.to rain tomorrow. KEMP pitches up in dispirited mood, it's two parts hangover and the rest anxiety for Chenault. SALA is sprawled on cam eras (at least one of them got some sleep). KEMP sits next to him and tells the story just as soon as he wakes to hear
KEMP..I looked everywhere, man,
- 98 -
94 Cond. 94#
KEMP (cond) even went to the gendarme..
SALA And..
KEMP
.. we went up there.. nothing.. nobody there, just an old woman with a mop.. and she's more help than the cop..
(mimicking)
.. "what can I do if your girl friend likes someone else?" etcetera, etcetera..
A conclusion SALA agrees with, but first he finishes a-yawn.
SALA
.. he's right about that, Paul, she's not your girlfriend.. did you sleep?..
KEMP I don't remember..
SALA
.. we're gonna need some breakfast.. then we'll think it through..
(lacing boots)
.. maybe she went back to the boat? Did you try the boat?
KEMP I don't think he'd let her on?
95: EXT. HARBOUR. OLD TOWN. DAY. 95.
More thunder and sky like lead, like the entire harbour is sleeping it off. Chairs and tables stacked at last night's restaurant. Here and there staff are beginning to clear up, decks washed on one or two yachts. SALA.munches-a hamburger. He and KEMP approach Sanderson's birth with understandable feelings of unease. They expect the worst, and get it.
Only one craft in the harbour is on the move and it is SANDERSON'S. Exhaust gurgles from the stern as he backs it out. SANDERSON sees KEMP as he sees him, SEGURRA is also on deck.
KEMP Is she with you?
No answer from SANDERSON, a dozen feet of water between them.
- 99 -
95 Cond. 95.
KEMP Is she with you?
SANDERSON slams a lever across, propellers change direction.
SANDERSON
.. why don't you mind your own god/damned business..
Thrusting a hand out he snaps fingers like KEMP is a waiter.
I want the keys? The Chevy? Keys are found and tossed across, expertly caught on arrival.
You blew it, Kemp.. He shoves forward on the lever, the yacht heads for open sea.
96: EXT. STREET. OLD SAN JUAN. DAY. 96.
Music survives the dissolve into a rain swept street. KEMP shelters under a battered black umbrella. He and SALA inspect a clapped out motorbike/sidecar. Owned by MOBURG, it's evidently for sale. KEMP circles it isolating deficiencies.
KEMP
I've seen better tyres hanging over the side of a tug..
MOBURG You want it or not?
KEMP looks at SALA [beggars and choosers] yeah they want it.
97: INT. STAIRWAY/APARTMENT. OLD BUILDING. DAY. 97.
MOBURG wheezes up the stairs in his saturated raincoat. He carries a tool/bag full of spares [which includes a busted-wing/mirror] and KEMP brings up the rear with a spare wheel.
MOBURG
.. everyone turns up for the Friday cheque, right.. no cheque, ] no Lotterman.. so I go round to see that unforgivably ugly wife of his, & she tells me, he's gone to Miami..
SALA For what?
MOBURG.. you don't know, I don't
- 100 -
97 Cond. 97,
MOBURG (cond) know, but the Scabs are back..
SALA unlocks and they shuffle in. Rain lashes the windows and a Cock Crows. KEMP carries his wheel into the kitchen.
Since Morrell went, the News took a turn for the worse..
Ha Ha Ha! he says, seeing a blow/up of himself lifting Lott-erman's wig. Ha Ha Ha! Sala stuck the picture up on a wall; Upending empties he looks for a bottle with something in it.
Is anything in the spinner?
SALA We need a fresh sack..
KEMP hacks rust off the wheel. And discovers nothing else.
MOBURG
.. maybe I could interest you gentlemen in something else..
KEMP Like what
(the wheel)
death?
MOBURG
Like the most powerful drug in the history of narcotics..
A small brown bottle is produced from his pocket. It's got a rubber/bulb. The kind of thing they dish/out for earache.
I'm not at liberty to disclose or discuss.. all I can tell you is, this stuff is so powerful they give it to communists..
KEMP Who does?
MOBURG The F.B.I.
SALA
.. why would the F.B.I get communists high?..
MOBURG That, I can't help you with..
(the breath zone) You take it like eye/drops..
- 101 -
97 Cond. 97-
SALA In the eye?
MOBURG
So I understand.. it makes the eye see things.. you see a different reality
KEMP
(examining vial) What d'you want for it?.
MOBURG
I'll throw it in with the bike, if you do me a favour?
KEMP
Alright, what's the favour? ;
MOBURG
I want one of you to come into the bathroom with me?
Looks like SALA's call and KEMP heads to his room for money.
KEMP Fifty dollars, right?
Slam/cut on the much depleted wad. KEMP pulls fifty for the bike/drugs. Walks back to the room where SALA is disgusted.
SALA
.. he wants me to look at his dick. I flatly refused.
KEMP
.. what does he want you to look at it for?
SALA
He says there's some
thing wrong with it.. '
MOBURG It's a gentleman's matter..
SALA I'm not looking at it..
MOBURG O.K. give me the drugs back.
Anything but give the drugs back. KEMP looks at MOBURG and then spots his tool/bag. A busted wing/mirror is prominent.
- 102 - |
Cond. |
|
|
| |
|
|
|
| KEMP |
|
| .. 0. | K. | I'll look at it |
|
| view | it | in the mirror. |
Actors can do this better than I can write it. KEMP gets behind MOBURG and the lowered trouser. Tension in teeth as he brings the wing/mirror into play. It makes your mouth water.
MOBURG Is it clap?
KEMP A standing ovation.
98: INT. SALA'S APARTMENT. NIGHT. 98.
Enormous close/up of an eye. Drip, Drip, Drip. The liquid goes in. They don't" know the dose or even what the drug is. I can help them with that. It's called Lysergic Acid Dieth-ylamide Tartrate. In a year or two it will be known as LSD.
Candlelight separates KEMP and SALA. They share a constant reciprocity of anticipation. Anyone familiar with LSD will know that fuck/all happens until something actually happens. They are not familiar with LSD and don't know what it'll be or when. Thus they sit in a vacuum of deflated expectation.
KEMP
.. we'll give it another five minutes..
SALA And then what?..
[P.O.V. T.V.] across the alleyway, they watch "I Love Lucy," via binoculars. Because it's slashing with rain the sound isn't.so good. But SALA seems amused by Miss Ball's jokes.
KEMP [0.S.]. How long since we took it?
SALA I don't know.. a while..
KEMP It's bullshit, isn't it?
Bullshit or not, there's something quite extraordinary about that rain running down the window. It seems extraordinarily liquid and KEMP abandons binoculars to look at it. A.weird illusion. It's just rivulets of rain. But it's glistening rain. Almost imperceptibly the room becomes more closely observed. Everything requires, a close/up. SALA opens a beer, and the hiss around the cap is as important as anything else
- 103 -
98 Cond., 98.
KEMP lights a cigarette and that's important too. The Zippo needs a close/up to fully cover the event. Fire escapes the flint like an F.16. taking off. Inhalation makes the end of his cigarette very red. He tosses the pack on the table and watches it land. For some occult reason, it seems to ha-ve a significance. He stares at SALA, still nothing is happening.
KEMP You feel anything?
KEMP blows smoke/rings. Looks at rain on the windows. Silver rain trickles down and in its way is curiously beautiful. He might wonder why he'd never noticed that before? [But it rarely rains so why should he?] and anyway his attention has switched to the GOLDFISH. Like everything else it requires a close/up and then [somewhat weirdly] its own point of view.
[P.O.V. GOLDFISH.] It stares out via its fish/eye lens from one world to another. Watches KEMP and SALA peering at each other in the yellow light. Maybe only the Fish can hear the Music? Without music this alchemy can't be happening. It's called, "Col Legno," by an American named RALPH TOWNER. His composition features nothing but a double bass and drum. It results in a sublime mix of expectation and menace. Similar sentiments attend KEMP and SALA. They've, taken the most powerful substance on planet earth, and the bastard just cut in.
No way do I try and describe the mechanics of this sequence with a typewriter. Only a camera can tell the tale. Don't ask how, but both MUSIC and FISHEYE/LENS have quit the bowl, and are out in the room. The fish/eye doesn't survive long, but the MUSIC intensifies and begins to own the environment.
This isn't going to be an entirely pleasant introduction to LSD. What you might call variable. They stare from opposite chairs. Everything looks normal, but it isn't. A Cock Crows [thrice] and the MUSIC comes into its own. [It can't be stressed enough that without this sinister rhapsody noth -ing can be envisaged] The Double Bass is resonant with malign promise. KEMP knows something AWFUL is going to happen.
SALA smiles and that's precisely it. It's HORRIBLE, like a wound. A surge of putrescent adrenaline creases KEMP. He needs to tell SALA he doesn't like the smile, but something about it has wiped out his ability to criticise. What can be done if everything is SLOW/MOTION, muscles can't work at this depth. The swine SMILES again, flopping out a TONGUE.
It protrudes but an inch, waggling' from side to side in imitation of THE VIPER. Is this an hallucination? It cannot be, it's HAPPENING. Suddenly the most god/awful rasp emits from the Bass, like a fucked hinge on the back gate of hell.
KEMP
Jesus..
(horrified^... your tongue is like an
- 104 -
98 Cond. 98.
KEMP (cond) accusatory giblet..
The tongue moves a yard from SALA's face with the accompanying toll of a drum. It is an anatomical insanity, an abrogation of all rules pertaining to the tongue. KEMP is paralysed with alarm and poleaxed with revulsion. As the TONGUE approaches he pushes back in his chair like a man on a crashing plane. Goya drew faces like this at the moment of death.
Here it comes towards him, probing forth, ever extending as it explores. It's out four feet, and then six, a khaki limb, browned at the root from three and a half million cigarettes.
At twelve feet it seems to have reached some fearful zenith. It quivers accusatively before veering east. KEMP's responsibility is clear, and he forces his way out of slow/motion.
- KEMP For Christ sake, keep it out.
Grabbing a newspaper he unwalks forward in a menacing stoop.
SALA What are you talking about?
KEMP Your tongue belongs to Satan.
SALA Are you out of your mind?
KEMP
Keep it out.. it's rotten to
the root.•. if it goes back
in your mouth, it'll kill you..
He goes for the TONGUE absorbing toxic spittle in the paper.
.. it's a bag of mauve pulp.. we gotta get it into the sink..
SALA
(standing)
Stop it.. you're giving me fear.. I've got fear..
KEMP So have I.. fuck you..
SALA
.. you're high, you fool, drink some rum..
Drink some rum? That's the best idea he's heard since 1956.
- 105 -
99: EXT. C0NDAD0. SAN JUAN BAY. NIGHT. 99.
KEMP and SALA are revealed on a pier. Ocean one side, distant cruise ships the other. The rain turned into mist. The initial rush of fear has been superseded by mutual pleasure.
KEMP
.. thought I was loosing grip in there..
Strings of multicoloured lightbulbs disappear into the mist. What did we take?
SALA I don't know..
KEMP
We need to get some more. *
Swapping hits on a bottle they walk into the weather. Here and there are enclaves of slot/machines. Nobody about and no interest, but further on is a machine that attracts KEMP.
A huge GRINNING LOBSTER reclines on its top, a claw pointing to a slot inviting money. Shove in a quarter and you get to operate a mechanical crane. The device hovers over a filthy aquarium. Should you be successful you win a LIVING LOBSTER.
A DEAD LOBSTER floats on the mire and its hapless companions are just about visible underneath. KEMP can't believe what he's looking at. He may have seen such a machine with teddy bears and trash candy., but never with PRIZES THAT ARE ALIVE.
KEMP That explains it, doesn't it?
SALA Explains what?
KEMP The world.. And us..
SALA doesn't know what he's talking about. There is a separation of minds. For KEMP this is a "Microcosm of the World," and he might even say so. Blown away by the LOBSTER MACHINE he clasps its sides, forehead pressed into the glass. A massive close/up takes care of his mouth and COLERIDGE the verse.
"The very deep did rot
0 Christ
That ever this should be Yea, slimy things did crawl
with legs Upon the slimy sea.."
MUSIC that's been threatening finally bursts through. It's
- 106 -
99 Cond. 99.
called, "The Unstable Table and the Infamous Fable." Hearing it may explain it, but I'm not going to try it in words any more that force visuals through a typewriter. Once again, it's an occult choreography and business of the CAMERA.
The sequence is a construct of FACES [melded into a single face] like every face Kemp has ever seen. Face after Face, like black & white celluloid run at super high/speed. Images, Images, "I got all the images any hick/poet ever shat out," as William.Burroughs once put it. But already swept away in tshe storm of Faces. STALIN, TRUMAN, LINCOLN, MARX, Faces pushing through Faces at the velocity of a nightmare, each mouthing its own ugly words, CASTRO, OPPENHEIMER, JESUS, MAU, KHRUSHCHEV, BETTY BOOP, and fifty thousand more, a million, billion ugly words exit the MOVING MOUTH, talking it, telling it, lying it, and selling it. MCCARTHY, HITLER, EINSTEIN, RICHARD NIXON, and MICKY FUCKING MOUSE. Suddenly it's all over. The solitary face belongs to JOHN F KENNEDY, the face at the end of the American Dream. The freeze doesr n't survive, replaced by t.v. ads of the 1960s. It's HAPPY TIME, bigger n better time, and it's got the Dream for sale.
100: EXT. CITY SQUARE. SAN JUAN. DAWN. 100.
Just before dawn on the deserted plaza, everything wet with rain. The sun is about to rise and the streets will be red. KEMP sits alone on a bench watching open/air t.v. It looms in a metal shroud on top of poles. This black and white facility was provided by government for those who couldn't yet afford it. KEMP is moving back into real/time, coming down, as the vernacular has it. Although he's unaware of it, some thing of significance has happened in his head [had his moment on the Road to Rome, so to speak] and henceforth he will be a different kind of writer [and we all know who that is.]
Mesmerised by advertising he peers at the t.v. A WOMAN is selling the virtues of her new FOOD MIXER. She's replaced by a FAMILY in a delirium of HAPPINESS over their new FORD.
The CAMERA and the MUSIC close in on KEMP. He's already into a dissolve with a clatter of typewriter at the end of it.
101: INT. SALA'S APARTMENT. DAY. 101.
Letters like crooked teeth smack into the paper. KEMP sits at a table bashing it out on his ancient portable. Wreathed in cigar smoke, he wears a towel over his head like a boxer.
KEMP [V.O.]
.. La Bas, down there, where the beasts are all blind and the doomed scream all night in the darkness. Joe McCarthy is down there, and Richard Nixon will join'him
- 107 -
101 Cond. 101.
KEMP (cond)
soon enough.. it's a special kind of hell for utterly failed politicians, the shameless ones, those rare and rotten talents whose only genius is to slip seamlessly from one enemy to another..
SALA [0.S.] Gotta go..
SALA is in and out of the background, trying to get dressed and drink coffee at the same time. KEMP is exhausted, runs hands through the sweat in his hair. That was a night, and now there's a knock at the door. No idea who's there until he opens it. Too wasted for surprise. But surprised he is.
CHENAULT stands outside looking abandoned and lost as a refugee. She probably hasn't eaten and obviously hasn't slept. You don't need to ask the questions to know she's in crisis.
SALA We gotta go..
Too rushed for the bullshit, he's out as KEMP brings her in.
KEMP
(to Sala) Gimme a minute
102: EXT. CALLE PLACE COLON. SAN JUAN. DAY. 102.
The SCABS are back on the streets outside El News. A Union Leader bellows Spanish crap through a bullhorn. Here comes SALA and KEMP. The former drives and the latter rides passenger in the motorcycle/sidecar. They head for the offices.
103: INT. NEWSROOM. THE DAILY NEWS. DAY. 103
Nobody at their desks, but everybody crowded around LOTTERMAN1 s office door. The entire journalistic contingent is here [sports desk, news desk, editorial, etc] and now KEMP and SALA. The mood is mutinous and sour, probably exacerbated by shouting Scabs and Cop Sirens in the street below.
KEMP What's happening?
WOLSLEY A strike...
KEMP manages to find a better view. LOTTERMAN is sweating.
LOTTERMAN.. it's a big favour I'm ask-
- 108 -
103 Cond. 103.
LOTTERMAN (cond) ing, and I know it is.. but I'm not asking it for myself, I'm asking it for the paper..
MOBURG Such self/sacrifice..
LOTTERMAN
.. I been breaking my ass for this paper.. fighting for it, which means, fighting for you..
They're not buying it and LOTTERMAN must lie a little harder.
.. O.K. I'm pleased to tell
you we now have finance in f.
place with a bank in Miami
DONAVON Who's the bank?
LOTTERMAN
.. you're gonna have to trust me on specifics, but it's a written guarantee.. I'm just asking for one more week, then everyone gets a $100 bonus..
MOBURG I don't think so..
LOTTERMAN You have my word of honour..
MOBURG
I can't pay my rent with your word of honour.. this is the second week we didn't get paid?
DONAVON That's right, Fred
LOTTERMAN
.. what d'you want, a crucifixion? I'm doing the best I can..
(re briefcase)
.. I'm on my way to sign the papers, and the longer you keep me here, the less signed they get.. C'mon, guys, please, it's Monday, we pull together till Friday, we can get through..
They've got no choice and LOTTERMAN adds a welcome sweetener.
- 109 -
103 Cond. 103.
LOTTERMAN (cond).. meantime, provided no one goes crazy, I'll pick up the tab at Al's..
This seems to do the trick and everyone drifts back to work. LOTTERMAN clears sweat with a handkerchief and notices KEMP.
How nice of you to drop in.
KEMP I was covering the carnival.
LOTTERMAN
That's not what I heard, I heard you were in the moonlight for Sanderson?
On hands and knees he snatches various papers from his safe.
KEMP I was what?
LOTTERMAN Moonlighting for Sanderson?
Slamming the safe he returns to his desk. More papers from a drawer and then a framed photo of his seriously ugly wife.
KEMP Where's Segurra?
LOTTERMAN
.. Mr Segurra is no longer with us..
KEMP I got a story for you..
LOTTERMAN is too preoccupied to listen no matter what it is.
LOTTERMAN
.. you may have noticed, I'm somewhat busy..
Stuffing documents into his briefcase he's anxious to leave.
KEMP
.. this is real important, involving Mr Segurra.. (proffering them).. you should take a look at these photographs..
- 110 -
103 Cond. 103.
LOTTERMAN
.. let me tell you just how important it isn't.. I got twenty one jobs on the line, and a newspaper going under..
KEMP Print this, and you sell it..
Scant attention from LOTTERMAN, already heading out the door.
.. it's a planning scam.. literally despoliation of a paradise, meanwhile 1OOO people get swept into the sea like garbage..
LOTTERMAN
You're-weird, Kemp.. it's not what it's doing to them, it' s what i"t does to you..
KEMP It's called, Journalism..
LOTTERMAN
.. make me laugh.. I ask you to tidy up the booze, you couldn't sweep out a room..
Midway up the News Room and everyone is looking up to listen
.. why d'you think you're working here? You are everything that's wrong with a journalist..
KEMP
.. and you are everything that's wrong with this insult of a newspaper..
MOBURG Unanimously agreed..
LOTTERMAN Why don't you shut it, Moburg?
(beast livid)
If this paper is floundering, it's because of people like you.. eaten away from the in side by people like you. You are a waste of human/sperm...
He,ploughs on towards the exit. MOBURG hollering after him.
MOBURG.. die a prolonged and rel-
- Ill -
103 Cond. 103>
MOBURG (cond) entlessly agonising death..
104: EXT. DRIVEWAY. BEACH HOUSE. DUSK. 104.
Such a sunset going down over the jungle. The music is poignant, although I don't know what it is. KEMP stands outside the house while SANDERSON tosses his ex/girlfriend's belongings through the front door. No jewels, but dresses, shoes, hats and a clutch of lingerie. An empty suitcase comes last.
SANDERSON Enjoy her..
KEMP Fuck you, Sanderson..
•f,
He gathers the satin"and lace. Stuffs it into his side/car.
105: INT. SALA'S APARTMENT. NIGHT. 105.
Now I know what the music is, sad old blues cranking out of Sala's record player. It's a sad old evening, SALA somewhat done in on rum, KEMP fixing a mug of hot tea in the kitchen.
SALA So what's the prognosis?
KEMP She won't talk about it..
A kettle whistles and he pours it, heads toward his bedroom.
but I get the idea she went back, and he kicked her out..
SALA How long's she staying?
KEMP She's going to New York..
106: INT. KEMP'S ROOM. APARTMENT. NIGHT. 106.
Last dregs of light at the window. You can always tell when a room's full of misery and this is one. CHENAULT is exhausted with tears. KEMP puts a cup by the bed and quietly sits.
KEMP I made you some tea..
She smiles but doesn't want it, and more.tears seem' imminent. You should try and sleep..
- 112 -
106 Cond. 106.
CHENAULT I stole your bed..
KEMP It's O.K. I'm gonna write..
CHENAULT (hardly audible) I'm so sorry..
KEMP
Don't be sorry, you did me the best favour I ever had..
Tears well and she denies them. The silence belongs to him.
.. there is no Dream, Chen-ault. ■» it's just a piss-. puddle of greed, spreading throughout the world...
107: INT. SALA'S APARTMENT. NIGHT. 107.
Just about as late as it gets. KEMP hammers his typewriter.
KEMP [V.O.]
.. difficult it is to believe that a truthless ingrate with the soul of a cockroach may be sworn as President of the United States.. and he will bring his gang with him, a mean network of lawyers and salesmen and pimps who will loot the national treasury, warp the laws, mock the rules, and stay awake twenty two hours a day looking for at least one reason to declare war..
108: INT. SHOWER/BATHROOM. APARTMENT. DAY. 108.
KEMP washes off a night at the typewriter. Basking in shampoo when the water runs out. Another failure in the bastard pipes. Miffed and dripping he gets out looking for a towel.
109: INT. APARTMENT. DAY. 109.
Wrapped in a gown with a towel over his head KEMP arrives in the kitchen. Sleep has revitalised CHENAULT. Almost herself again, she's squeezed oranges and made coffee. KEMP's pleasure is short/lived, ending with the woe in SALA's expression.
SALA One for you. One for me.
- 113 -
109 Cond. 109.
He hands KEMP a sizeable envelope. Inside is a heart/sinker.
KEMP
.. oh man, I would rather not start the day with this..
CHENAULT What is it?
SALA It's a writ..
KEMP
(reading) Means we're going to court?
SALA • \
.. it means they' can arrest us, should they so desire, any damned minute they like..
(freaked) We need to speak to a lawyer..
KEMP We don't even have a phone?
SALA
.. there's an old guy I know, Spanish Advocate, he kind of owes me one.. you should get dressed, we'll get over there..
KEMP I'm covered in soap..
Alright SALA will do what he can. A moment later he's gone. A vacuum of anxiety is left, focusing oh rereading the writ.
CHENAULT What's it for?
KEMP
I'm afraid it's Hal *. he put up bond on this thing for us,, now he's pulled it..
CHENAULT has something to say. But takes a while to say it.
CHEANULT You know he's a crook, Paul?
KEMP I know he sails close..
- 114 -
109 Cond. 109.
CHENAULT
They're working a scam with federal grants.. siphoning. money into parasite accounts..
KEMP How?
CHENAULT •
He's got a contract with the city, and a rat on a lead in the bank, a man called Green?
(he remembers him).. when the new money comes in, they match it with money they already creamed off, pay out of the parasite accounts, and, the new money is up for grabs..
KEMP And we get the writs..
CHENAULT
.. please don't ever say I told you.. I honestly believe he'd have me killed..
She doesn't have to worry, he doesn't have to say. He loves her and it stays secret. A loud gurgle surges in the pipes.
KEMP At least the water's back on..
110: INT. SHOWER/BATHEOOM/BEDROOM. APARTMENT. DAT. 110.
KEMP picks up the shower where he left off. Steam and rushing water. Shampoo runs off and suddenly CHENAULT is there. He didn't hear her arrive, but she's here now and obviously wants to join him, KEMP isn't arguing as she undresses, bra and panties evaporating with the jeans. She steps into the shower and turns into the most seductive thing a naked girl could be with soap. Hands all over each other, hands spread over her back and breasts as her lips are all over his mouth.
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